St. Rose Catholic Junior High School - Artwork 2017- 2021 - NET
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St. Rose Catholic Junior High School
Artwork 2017– 2021
1
Index
Granite Relief sculpture….20
Mosaics
Background……………..3
Dedications and Blessings….3
Indigenous ………….....5
Métis………………….…...9
Inuit ……………………...13
St. Rose of Lima……..17
Many Peoples………..18
Windows
Chapel…………………...21
Acrylic ………..………...25
“St. Rose Catholic Junior High School
Artwork 2017—2021”
Written July 2020—June 2021 by Bruno Binassi
Printed June 2021
2
St. Rose Catholic Junior High Mosaics Project
The Mosaic project at St. Rose School was a four-year endeavour. It was inspired by the Edmonton
Catholic School Division’s Treaty Six Acknowledgement and the Truth and Reconciliation Commis-
sion of Canada: Calls to Action:
We acknowledge that we are on the traditional land of Treaty 6 and home of the Métis Nation of
Alberta Region 4. We also acknowledge the Inuit and other diverse Indigenous peoples whose
ancestors have marked this territory for centuries, a place that has welcomed many peoples
from around the world to make their home here.
Treaty Six Acknowledgement
63. We call upon the Council of Ministers of Education, Canada to maintain an annual commit-
ment to Aboriginal education issues, including:
iii. Building student capacity for intercultural understanding, empathy, and mutual respect.
Truth and Reconciliation Commission of Canada: Calls to Action
The project was begun during the 2017-2018 school year and ended in the 2020-2021 school year.
Each phase was completed under the artistic guidance of local artist, Theodora Harasymiw. Students
were involved in the creation of the mosaics and their installation with the assistance of school par-
ents and members of the community at large.
This project would not have been possible without the support of our generous benefactors:
Phase One - Indigenous Peoples (November 2017):
The Government of Alberta, Alberta Foundation for the Arts
Parent Council of St. Rose Catholic Junior High School
Phase Two - The Métis (January 2019):
The Government of Alberta, Alberta Foundation for the Arts
Parent Council of St. Rose Catholic Junior High School
Phase Three - The Inuit (January 2020):
Parent Council of St. Rose Catholic Junior High School
The Edmonton Catholic Schools Foundation:
Archbishop Joseph MacNeil Endowment Fund
Elder Jerry Wood Educational Memorial Endowment Fund
Dreams for Kids Project Fund
Phase Four - Our Faith and Home (October 2020 and April 2021):
Parent Council of St. Rose Catholic School - Many Peoples from Around the World
The Edmonton Catholic Schools Foundation—St. Rose and Her Garden
with support from:
Archbishop Joseph MacNeil Endowment Fund
Elder Jerry Wood Educational Memorial Endowment Fund
Dreams for Kids Project Fund
3
West Stairwell Mosaics—Blessing and Smudging Ceremony—December 11, 2017
Those attending the ceremony included Elders Betty Letendre and Tony Arcand, ECSD Assistant Superintendent, Mr. Joe
Nacarrato, Trustee Alene Mutala, artist Ms. Theodora Harasymiw and Indigenous Learning Services Consultant Ms.
Darlene Olson.
East Stairwell Mosaics—Dedication and Blessing —May 2, 2019
Those attending the ceremony included Mr. Dan Cardinal from the Métis Nation of Alberta, Fr. Dean Dowle, Trustee
Alene Mutala, School Council Chairperson, Mrs. Kim Street, and former principal, Mr. Barton Leibel.
North Stairwell Mosaics—Dedication and Blessing —May 20, 2021
Those attending the ceremony included Fr. Dean Dowle, Trustee Alene Mutala, ECSD Chief Superintendent, Mr. Robert
Martin, School Council Vice-Chairperson, Mrs. Tracy Hawkins, and ECS Foundation Chairperson, Dr. Mona-Lee Feehan.
4
Indigenous Mosaics
The Eagle Turtle Island
The eagle signifies courage, wisdom and strength For some Indigenous Peoples, Turtle Island
and serves as the messenger to the Creator. The refers to the continent of North America. The
eagle is believed to carry prayers to the Great name comes from various Indigenous oral his-
Spirit in the Spirit World and also has a special tories that tell stories of a turtle that holds the
connection with visions. Eagle feathers are highly world on its back. For some Indigenous Peo-
significant to Indigenous Peoples. ples, the turtle is therefore considered an icon
of life. In various Indigenous origin stories,
the turtle is said to support the world, and is an
icon of life itself. Turtle Island speaks to vari-
ous spiritual beliefs about creation and for
some, the turtle is a marker of identity, culture,
autonomy and a deeply-held respect for
the environment.
5
Dreamcatcher
A dreamcatcher is a sacred Native Ameri-
can object that consists of a ring of
red willow, or other similarly common and pli-
able bark, held together by a web of sinew or
fiber, connecting to the ring in seven or eight
places. At the base of the dreamcatcher,
there are several feathers.
Dreamcatchers are used to encourage
good dreams. Ojibwe and Lakota lore depicts
them as either trapping good or bad dreams,
but the feathers almost always direct the
good dreams to the sleeping owner of the
dreamcatcher.
Eagle
This mosaic was based on the work of Norval
Morrisseau, an artist from the Bingwi
Neyaashi Anishinaabek First Nation. He
created works depicting the legends of his
people among other subjects. His style is
characterized by thick black outlines and
bright colors.
6
Medicine Wheel
and
Mother Earth
In many Indigenous cultures, the
Medicine Wheel contains all of
the traditional teachings and can
therefore be used as a guide on
any journey, including the edu-
cational process. While there is
some variation in its teachings
and representations, the under-
lying web of meaning to Medi-
cine Wheels remains the same:
the importance of appreciating
and respecting the ongoing in-
terconnectedness and interrelat-
edness of all things. Therefore,
there is no “right” or “wrong” way
of representing or using Medi-
cine Wheels: all forms hold par-
ticular meaning to the various
Indigenous nations while all
transmit a common understand-
ing of the interconnectedness
and interrelatedness of all
things.
The wheel drawing simply be-
gins by making a circle. Super-
imposed on this circle are four
equidistant points. These points
symbolically identify the power/
medicine of the four directions
(east, south, west, north) using
four different colours. The final
drawing resembles a compass
for human understanding.
Around the spirit world of the
four directions is the Creator
above and Mother Earth below.
7
Wapiti
Wapiti as a word dates back to about the 19th century. Like the word moose, wapiti is an
americanization of a First Nation’s word. It comes from waapiti. Waapiti in turn came from the
word wap meaning white. Wap referred to the white tail and rump characteristic of the wapiti.
By using the word wapiti, we try to remember the historical roots of Canada and the heritage of
the First Nation people who were here, hunting, and naming animals long before the European
settlers arrived. Wapiti is (one of) the original names for the animal. Europeans thought the
North American Wapiti resembled the European moose or elk as it is often referred to as such.
Wapiti are social, tending toward life in open terrain. In North America they are found in widely
different habitats. Wapiti are an important game animal today valued for their hides by
Indigenous Peoples.
8
Métis Mosaics
Beadwork
The Métis are known for their floral beadwork. The symmetrical floral beadwork, often set against a
black or dark blue background, was inspired by European floral designs. They used seed beads for
their designs.
Beadwork was added to: jackets, bags, leggings, gloves, vests and pouches. These items were
traded throughout North America and Europe. It was common for the Métis to decorate their saddles
and other horse gear as well.
Fiddle
Music played an important role in the life-
style of the Métis people. They held many
community events that involved music and
dancing. The fiddle was the most common
instrument used by the Métis.
The French and Scots first introduced
fiddles to the Métis. The fiddles were
handmade from maple and birch wood.
Eventually the Métis people learned how
to make their own fiddles, because they
were so expensive to buy or trade for.
9
Sash
The Métis Sash became the most recognizable part of Métis dress and a symbol of their people. The
sash could also be called a “ceinture flechée.”
The sashes were used by voyageurs of the fur trade, but they became a popular trade item for the
HBC, NWC, and the western Métis. Eventually the Métis started producing their own sashes in the
Red River area. The first sashes were used as back supports for the voyageurs in their canoes.
The hand-woven sashes were made of brightly coloured wool, mainly red and blue. Certain colours
and patterns represented different families. The fringed ends of the sashes were decorative, but
were also used as an emergency sewing kit. The fringes could be used as extra thread for sewing, if
they needed to mend anything while traveling. The three metre long sash was usually wrapped
around the midsection of the body, either to keep the coat closed, or to hold belongings, like a hunt-
ing knife or other supplies.
10Red River Cart
Likely originating in both French and Scottish traditions, the Red River cart was constructed entirely
of wood and was tied together with leather. It was easily repaired and was wonderfully adapted to
prairie conditions; its two high, deeply dished wheels made it stable, and it could be drawn through
mud and marsh. Wood and leather produced an ear-piercing squeal audible for kilometres. The cart
was buoyant and could be floated across streams, yet it was strong enough to carry loads as heavy
as 450 kg. Two shafts attached to the axle were strapped to a pony or ox.
The Red River cart was first used by the Métis to bring meat from the buffalo hunt and later in farm
work. By the 1850s, organized brigades of carts were making the 885 km journey from Fort Garry,
Winnipeg, to St. Paul, Minnesota, and by the 1860s some 600 carts were making two round trips an-
nually, carrying some 270-360 kg each. The most important long-distance cart road was the Carlton
Trail from Fort Garry (Manitoba) to Fort Edmonton. For several years into the 1860’s, about 300 carts
made one trip per season from the Red River, carrying trade goods and furs.
11Bison
The bison hunt played an integral part in the development of the Métis Nation. Bison hunting
provided the Métis with a livelihood, and helped sustain their way of life.
Two big hunts were organized every year, one in the spring and one in the fall. They traveled in large
groups or ‘caravans’, sometimes with over 1,000 people and 1,000 carts for a single hunting
expedition. The Métis caravans followed the bison for long distances, usually hundreds of kilome-
tres, until they reached bison grazing areas. Men, women and children all went along on the hunts,
because they needed as many people as possible to transport all of the bison hides and meat back
home. The annual bison hunt became an important social gathering. It was an opportunity for ex-
tended families to see each other once or twice a year.
The Métis bison hunts were well organized, and were executed with military precision. There were
recognized laws relating to the bison hunt that everyone had to follow. An elected bison hunt council
was in charge of enforcing those rules and organizing the hunt.
12Inuit Mosaics
Qilalugag
In Inuktitut, the language of the Inuit, narwhals are referred to as
“qilalugag” which roughly translates to “The one that points to the sky”.
Qilalugaq are part of the rich natural heritage of Nunavut and provide sus-
tenance for its people. These legendary animals have two teeth. In males,
the more prominent tooth grows into a swordlike, spiral tusk up to three
metres long. Inuit people hunt the narwhal for their long tusks and their
skin, an important source of vitamin C in the traditional Arctic diet. The
narwhal can be seen on the Nunavut coat of arms and the Mace of the
Legislative Assembly of Nunavut is made from narwhal tusk.
13Qamutiik and Qimmiit
The Inuit lived in an area comprising a large part of northern hemisphere, including Northern Cana-
da. Parts of the Yukon, NWT, Nunavut, Quebec and Labrador were settled by the first peoples of the
Canadian Arctic. Qamutiik (sleds) vary with the people who make them and the snow conditions. In
the Arctic, the Inuit developed the heavy qamutiik, designed to carry loads over rough terrain. The
key feature of the qamutiik is that it is not built with nails or pins to hold the runners and cross pieces
in place. Each piece is drilled and lashed to the next, providing a flexibility of movement that can en-
dure the pounding of travel on open sea ice, frozen land, ice floes, and across the heavy ice of tidal
zones. For many centuries sled dogs (qimmiit) were used as the preferred method of transportation
in the north. These dogs pulled qamutiik and provided companionship. They helped to hunt seals
and caribou, sniffing out seal breathing holes in the winter and caribou tracks in the summer. They
also provided protection, loudly warning people about nearby polar bears, then chasing them and
fighting them so that the dangerous marauding predators could be killed. With their thick warm
coats, these brave dogs are not bothered by severe cold or snowstorms. The lead dog (called
‘isuraqtujuq’ in Inuktitut) was trained to always find the way home, even in the middle of the most
blinding blizzard conditions.
14Inunnguaq
An inunnguaq is a stone landmark found in the Arctic region of North America. An inunnguaq, mean-
ing “imitation of a person,” is a stone sculpture that is shaped to look like a body or person and has
spiritual meaning with practices related to it. Inunnguaq have a significant role within Inuit culture.
They have a ceremonial role representing the spirits and often mark a sacred location.
15Polar Bear
"Polar bears are greatly respected by Inuit hunters as the most intelligent animal in the Arctic, and as
a symbol of the resilience, patience and determination that is needed to survive in the harsh climate.
Inuit continue to maintain a connection with the land and their hunting traditions. The polar bear is an
important species to the Inuit- culturally, spiritually, and, more recently, economically.”
(From Inuvialuit and Nanuq: A Polar Bear Traditional Knowledge Study, 2015)
“Apart from bears’ economic contribution, they also nourished the Inuvialuit imagination, due in large
measure to their strength, agility, and above all, their great intelligence. Polar bears feature promi-
nently in Inuvialuit mythology, spirituality, storytelling, art, song, and other forms of cultural expres-
sion and traditions.” (From Inuvialuit Settlement Region Polar Joint Management Plan, 2017)
Owl
While the Inuktituk language does not have a
specific word for art, the Inuit have decorated
garments and carved objects since prehistoric
times. In 1957, printmaking was introduced
at Cape Dorset, Nunavut. Traditionally, the con-
tent of Inuit prints was based on the animals,
birds and marine life of the Arctic; on the old
ways of life; on legends and mythologies; and on
shamanistic practices, creatures and spirits. This
mosaic was inspired by Kenojuak Ashevak and
her print titled “Enchanted Owl.”
16St. Rose and Her Garden Mosaic
This mosaic was created by Theo Harasymiw in her studio. It was the first of two mosaics for the
fourth phase of the mosaic project and was installed at the front entrance of the school where it wel-
comes everyone. It depicts our school’s namesake in her garden from which the proceeds were
used to support the poor of Lima. The mosaic was made possible with the support of the Edmonton
Catholic Schools Foundation. It was unveiled and blessed on October 15, 2020.
Unveiling and Blessing
We were honoured to have representatives from the Edmonton Catholic Schools Foundation, Chair,
Dr. Mona-Lee Feehan, Trustee Alene Mutala, and School Council Chair, Kim Street attend the cere-
mony which was broadcast to all our homerooms. Fr. Dean Dowle blessed the artwork.
17“Many Peoples from Around the World” Mosaic
The second part of the fourth phase was installed in the chapel. This mosaic focuses on our faith
and the conclusion of the Treaty Six Acknowledgement, “A place that has welcomed many peoples
from around the world to make their home here.” The design features a cross, symbol of our faith
and salvation with the colours of flags from predominantly Catholic countries (France, Ireland, Italy,
Poland, Portugal, Spain and the Philippines) whose emigrants share our Catholic faith and “make
their home here.” The mosaic was made possible with the support of the St. Rose School Parent
Council.
Unveiling and Blessing
We were honoured to have Trustee Alene Mutala, ECSD Chief Superintendent, Mr. Robert
Martin, and School Council Vice-Chairperson, Mrs. Tracy Hawkins and representatives from the
Alberta Knights of Columbus Charitable Foundation, Mr. Daley and Mr. Kluchky attend the ceremo-
ny which was broadcast to our homerooms. Fr. Dean Dowle blessed the artwork. The mosaic was
unveiled and blessed along with the blessing of the school chapel on May 20, 2021. The K of C
Foundation and the St. Rose Parent Council made the chapel possible with their generous support.
18Religious Art Initiative
This initiative was begun in during the 2018-2019 school year and is ongoing. With the motivation to
improve the Catholic ethos of St. Rose Catholic Junior High, several projects were started.
Granite Relief Sculpture
The nearly 200 kilogram art piece was installed in November 2018. It was sponsored by the Alberta
Knights of Columbus Charitable Foundation. It was unveiled by Assistant Superintendent, Duwayne
Lang, and Trustee, Alene Mutala, on December 7, 2018. The sculpture was blessed by Fr. Dean
Dowle on December 14, 2020.
School Chapel
Windows
Through the generosity of the St. Rose School Parent Council two sets of religious windows were
installed. The upper four (St. John the Evangelist, St. Rose of Lima, the Crucifixion and the Resur-
rection) were installed on May 22, 2019. The lower four (Blessed Virgin, the Basilica of Santo Do-
mingo, the Suffering of Christ and Pentecost) were installed April 22, 2020. The initial concepts were
created by Bruno Binassi, Principal (2018-2021); final designs and creation by Rostislav Rusev of
Ambiance Art Glass of Edmonton.
Chapel Mosaic
The initial concept was created by Principal Bruno Binassi. The final design and installation was
done by Theodora Harasymiw. This project was one of two parts comprising the fourth and final mo-
saic project made possible by The Edmonton Catholic Schools Foundation:
Archbishop Joseph MacNeil Endowment Fund
Elder Jerry Wood Educational Memorial Endowment Fund
Dreams for Kids Project Fund
Acrylic Window Inserts
The five interior window inserts were made possible by the St. Rose School Parent Council. The first
two (The Blessed Virgin and her Garden and the Sacraments of Initiation) were installed June 30,
2019. The next two (Our Salvation and the Gospels) were installed in February 7, 2020. The last
(Symbols of Jesus) was installed in June 29, 2020. All five concepts were envisioned by Principal
Bruno Binassi. The final designs and creation of the panels were done by Annie Chiarello, an Arch-
bishop O’Leary student, under the guidance of her art teacher, Victor Viardo.
19Granite Relief Sculpture
The relief sculpture is found in our entrance and greets visitors as they enter our school. It is in-
spired by one of our namesake’s most well-known quotations. The relief sculpture was unveiled on
December 7, 2018 by Assistant Superintendent, Duwayne Lang, and Trustee Alene Mutala. It was
blessed by Fr. Dean Dowle, Pastor of St. John the Evangelist Parish, on December 14, 2018. The
concept and design were done by Bruno Binassi. The graphic artwork was done by Annette Fergu-
son (ECSD). The Tranas Red granite was supplied and installed by Ideal Tile and Terrazzo from
Edmonton. The sandblasted etching was done by Edmonton Granite also of Edmonton. The sculp-
ture was funded with a donation from the Alberta Knights of Columbus Charitable Foundation.
20Chapel Windows
St. John the Evangelist
St. John was one of the original twelve apostles and
is thought to be the only one to have not been killed
for his faith. St. John the Evangelist wrote the Gospel
of John, The First, Second and Third Letters of John
and the Book of Revelation. St. John the Evangelist is
associated with the Blessed Virgin at the Crucifixion.
“When Jesus saw his mother and the disciple whom
he loved standing beside her, he said to his mother,
"Woman, here is your son." Then he said to the disci-
ple, "Here is your mother." And from that hour the dis-
ciple took her into his own home” John 19.26-27. St.
Rose School’s parish is named in his honour. One of
the most common symbols associated with St. John
the Evangelist is the eagle. A faint outline of an eagle
can be seen in the underside of the book he is hold-
ing. The “Eagle” is also our school’s mascot. St. John
the Evangelist’s feast day is December 27th.
Blessed Virgin
The image of the Virgin Mary, the Patroness of the
Edmonton Catholic School Division, is associated with
the rosary. Pope Leo XIII explained the importance of
the Rosary as the one road to God from the faithful to
the mother and from her to Christ and through Christ to
the Father, and that the Rosary was a vital means to
participate with the life of Mary and to find the way to
Christ.
21St. Rose of Lima
St. Rose was born Isabel Flores de Oliva in the
city of Lima, Peru on 30 April 1586. Her later nick-
name "Rose" comes from an incident in her infan-
cy: a servant claimed to have seen her face trans-
form into a rose. In 1597 Isabel received her Con-
firmation. At this time she formally took the name
of Rose.
She helped the sick and hungry around her com-
munity, bringing them to her room and taking care
of them. Rose sold her fine needlework, and took
flowers that she grew to market, to help her family.
She made and sold lace and embroidery to care
for the poor, and she prayed and did penance in a
little grotto that she had built. Otherwise, she be-
came a recluse, leaving her room only for her vis-
its to church.
She wanted to become a nun, but her father for-
bade it, so she instead entered the Third Order of
St. Dominic while living in her parents' home. She
died on August 24, 1617, at the young age of 31.
Her feast day is August 23rd.
St. Rose has many patronages including the
Patroness of the Americas, the Indigenous
Peoples of the Americas, and of Peru. St. Rose
Junior High School was named in her honour in
1962.
Basilica of Santo Domingo
The Basilica of Santo Domingo, located in the city
of Lima, Peru, was completed in 1766. The tomb
of St. Rose of Lima can be found here. Surround-
ing the image are two branches creating a laurel
crown which can be found on the Peruvian Coat
of Arms.
22The Crucifixion
Catholic art tradition often depicts in
great detail Jesus’ suffering and cru-
cifixion. Jesus’ suffering and sacrifice
can only begin to be understood
when we realize the shocking pain
and humiliating death Jesus suffered
for us. “But he was wounded for our
transgressions, crushed for our iniq-
uities; upon him was the punishment
that made us whole, and by his
bruises we are healed” (Isaiah
53.5).
One of St. Rose of Lima’s most fa-
mous quotations recalls the sacrifice
of the Cross: “Apart from the Cross,
there is no other ladder to heaven.”
These windows are placed next to
St. Rose’s window to help focus the
viewer on her words and the true
sacrifice Jesus suffered for us.
23The Resurrection
“Christ's Resurrection was not a return
to earthly life. . . . Christ's Resurrection
is essentially different. In his risen body
he passes from the state of death to
another life beyond time and space. At
Jesus' Resurrection his body is filled
with the power of the Holy Spirit: he
shares the divine life in his glorious
state.” (Catechism of the Catholic
Church, 646). “We know that Christ, be-
ing raised from the dead, will never die
again; death no longer has dominion
over him. The death he died, he died to
sin, once for all; but the life he lives, he
lives to God. So you also must consider
yourselves dead to sin and alive to God
in Christ Jesus (Romans 6.9-11). St.
Paul’s words challenge Christians to
live joyfully with the knowledge of
Christ’s resurrection.
Pentecost
The dove represents the descent of the
Holy Spirit, Pentecost, and the birthday
of the Catholic Church. “Go therefore
and make disciples of all nations, bap-
tizing them in the name of the Father
and of the Son and of the Holy Spirit,
and teaching them to obey everything
that I have commanded you. And re-
member, I am with you always, to the
end of the age.” Matthew 28:19
24Acrylic Window Inserts
Blessed Virgin
Depicted in the insert is the image is of Mary,
the Mother of God. She was declared the pa-
troness of Edmonton Catholic Schools in
spring 2003. Catholics hold the Blessed Vir-
gin in high esteem; she is the perfect model
of our faith. Catholics often create gardens to
honour Mary. Gardens also have a connec-
tion to our school’s namesake who main-
tained a garden to support the poor.
Sacraments of Initiation
Baptism, Confirmation, and the Eucharist lay
the foundations of every Christian life. "The
sharing in the divine nature given to men
through the grace of Christ bears a certain
likeness to the origin, development, and
nourishing of natural life. The faithful are
born anew by Baptism, strengthened by the
sacrament of Confirmation, and receive in
the Eucharist the food of eternal life. By
means of these sacraments of Christian initi-
ation, they thus receive in increasing meas-
ure the treasures of the divine life and ad-
vance toward the perfection of charity." Cate-
chism of the Catholic Church 613
25Salvation
The Bible images depict salvation history
through God’s mercy and Jesus’ sacrifice.
The star of the Nativity represents God shar-
ing our humanity and our salvation. “She will
bear a son, and you are to name him Jesus,
for he will save his people from their sins.”
Matthew 1:21. The cross reminds us of our
salvation through the Jesus’ sacrifice and
the Triumph of the Cross. “For the message
about the cross is foolishness to those who
are perishing, but to us who are being saved
it is the power of God.” 1 Corinthians 1:18
The dove represents the Descent of the Holy
Spirit, Pentecost, and the birthday of the
Catholic Church. The scroll references the
Pentateuch and the formation of God’s
people.
The Gospels
The four Gospels comprise the first four
books of the New Testament of the Bible.
Each gospel has its own distinctive under-
standing of Jesus and his divine role. The
four images each correspond to one of the
Gospels:
Angel — St. Matthew
Lion — St. Mark
Ox — St. Luke
Eagle — St. John
These symbols originate from the Prophet
Ezekiel (1:1-21).
26Images of Christ
There are numerous images of Jesus Christ
found mostly in the Gospels.
Pax Christi (The Peace of Christ) - Earthly peace
is the image and fruit of the peace of Christ, the
messianic "Prince of Peace." He reconciled men
with God and made his Church the sacrament of
the unity of the human race and of its union with
God. "He is our peace." (Catechism of the
Catholic Church 2305)
Lamb of God — Christ's death is both the Pas-
chal sacrifice that accomplishes the definitive re-
demption of men, through "the Lamb of God, who
takes away the sin of the world", and the sacrifice
of the New Covenant, which restores man to
communion with God by reconciling him to God
through the "blood of the covenant, which was
poured out for many for the forgiveness of sins.”
(Catechism of the Catholic Church 613 )
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